



.^' 







NUV 191897 



b^ 



^•^^ifet ' 



/I 



The Study of Romola 

/ 
4; 

Topics and References 

^ ^ . Arranged for 

^t.^ / Literary Circles 




J^i^U^ 



.J13 



,?r/ 



Copyright 1897, by 

Mrs. H. a. Davidsoin, M. A. 

Director of Litkkakv Circles. 

No. I Si'RAGUE Place, 

Albany, N. Y. 

Author of " Reference History of the United States. 
Ginn and Company. 



/l-3JffO 



Topics and Refereniprfsrforth^ Study of 
Roitiola. ,;.V'* 

REFERENCES. 

Eliot's life. 

Life and Letters of George Eliot, edited by J. W. Cross. 
(Blackwood's cabinet edition is most satisfactgry.) 

Eliot, by Oscar Browning, Great Writer series. 

George Eliot, by Mathilde Blind, Famous Women series. 

English Authors in Florence, by Kate Field, Atlantic Month- 
ly, December, 1864. 

George Eliot, by F. W. H. Myers, Century Magazine, Novem- 
ber, 1881, p. 57. 

Portrait of George Eliot, Century Magazine, November, 1881, 
frontispiece, and p. 47. 

George Eliot's Life, by Henry James, jr., Partial Portraits, 
and Atlantic Monthly, May, 1885. 

The Life of George Eliot, by Frederic Harrison, Fortnightly 
Review, March, 1885. 

Scenes from the George Eliot Country, by S. Parkinson. 

Country of George Eliot, Century Magazine, July, 1885. 

Lives of Girls who Became Famous, by S. K. Bolton. 

Home Life of Great Authors, by H. T. Griswold. 

George Eliot, a Critical Study of her Life, Writings and 
Philosophy, by G. W. Cook. 

George Eliot and her Heroines, by A. G. Woolson. 

The history of Florence and of Savonarola's life. 

The Life and Times of Savonarola, by Villari. 



History of the Commonwealth of Florence, by Trollope, vols. 
. iii. and iv. 

The Makers of Florence, by Mrs. Oliphant. 
Commerce and Industry of Florence during the Renaissance, 

by W. G. Scaife. 
Lorenzo de' Medici and Florence in the XV Century, by E. 

Armstrong, Heroes of the Nations series. 
History of the Popes, by L. Von Ranke. 
History of the Middle Ages, by Henry Hallam, vol. II. , chap. iii. 

Time of composition. 

Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. II,, 265, 268. 269, 270, 278, 281, 
282, 284, 286, 288, 290, 291, 294, 300, 301. 

Visits to Florence. 

Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. II., 168-195, 229, 253,-259. 

Eliot's study, in preparation for writing. 

Eliot, by Oscar Browning. 

Life and Letters, by Cross, vol. II., 261, 262, 267, 269, 271, 274, 
275, 278, 281, 282, 285, 286, 289, 291, 294. 

For the historical account of Savonarola's visit to Lorenzo 
and of Lorenzo's death, mentioned in chapter i, see " Life and 
Timesof Savonarola," by Villari, vol. I., pp. 145-149, (chap. ix. ) and 
also "A History of the Commonwealth of Florence," by Trollope, 
vol. III., book VIII., chap, iv., pp. 460-464. 

TFie Art of Fiction. 

The English Novel and the Principle of its Development, by 
Sidney Lanier. 



The Technique of the Drama, by W. T. Price. 
Principles of Success in Literature, by G. H. Lewes. 
Relation of Literature to Life, by C. D. Warner. 
Some Aspects of Fiction, by Brander Mathews. 
Criticism and Fiction, by W. D. Howells. 

Criticism. 

References for the study of criticisms upon Eliot's books and 
essays will be given before this course is concluded. Members of 
reading circles are most earnestly requested not to read criticisms 
upon Romola, the novel, or upon Eliot's characteristics as a writer 
of fiction, at present. Read whatever throws light upon her early 
life, her personality, her mental characteristics, her methods of 
study and thought. 

"A man should learn to detect and watch that gleam of light 
which flashes across his mind from within." — Emerson. 

Eliot's Definition of the Historical Novel. 

"Admitting that the genius which has familiarized itself with 
all the relics of an ancient period can sometimes by the force of 
its sympathetic divination restore the missing notes in the ' music 
of humanity' and reconstruct fragments into a whole which will 
really bring the remote past nearer to us and interpret it to our 
apprehension — this form of imaginative power must always be 
among the very rarest, because it demands as much accurate 
and minute knowledge as creative vigor. . . . " 

"I want something different from the abstract treatment 
which belongs to grave history from the doctrinal point of view 
and something different from the schemed picturesqueuess of 
ordinary historical fiction; I want belief, severely conscientious 
:reproductions in their concrete movements of the past." — Eliof s 
Essays. 



Test in Reading. 

The following quotations furnish a test to be applied in read- 
ing Romola: 

' ' Although as a matter of fine art no character should have a 
place in a novel unless it forms an integral element of the story, 
and no episode should be introduced unless it reflects some strong 
light on the character or incidents, this is a critical demand which 
only fine artists think of satisfying and only delicate tastes appre- 
ciate." — Pri7iciples of Success in Literature, by G. H. Lewes. 

"Perhaps even a judge so discerning as yourself could not 
infer from the imperfect result how strict a self-control and selec- 
tion were exercised in the presentation of details. I believe there 
is scarcely a phrase, an incident, an illustration that did not 
gather its value to me from its subservience to my main artistic 
objects. But it is likely enough that my mental constitution 
would always render the issue of my labor something excessive — 
wanting due proportion. It is the habit of my imagination to 
strive after as full a vision of the medium in which a character 
moves as of the character itself." — Letter of Eliot to R. H. 
Hutton, about Romola. Life and Letters of Eliot, vol. ii., 
p. jog. 

NOTE-BOOK TOPICS. 
Preliminary. 

I. Time occupied in the composition of Romola. 
II. Number of visits made to Florence ; time spent in the city. , 

III. Eliot's study in preparation for the writing, 

a. Subjects studied. 

b. Books read. 

For v/ork throughout the course. 

IV. Chronology of the story of Romola. 



5 

List of characters acting in the novel. 

Enter the name, at its first appearance, in the note-book, 
with reference to the page where it was found. 
Forecasts. 

These are hints about the future course of the story given 
in the earlier parts of the narrative. 
Means employed to give historical coloring; as, costumes, 

proverbs, etc. 
Antecedent material. 

Some writers construct a story antecedent to the one 
they tell, which they impart to the reader by various 
de^fices without making it an integral part of the narrative. 
Plot outlines. 

Those events or facts belong in a plot outline which 
determine subsequent events. They give, in outline, the 
effective presentation of the theme and lead inevitably to 
the climax, and conclusion. It is necessary, always to 
distinguish carefully between such events or facts as have 
determining force, and those incidents which are illustrative, 
or contribute to character building. 
Quotations. 

Select only such quotations as are complete when severed 
from the context, and of great value for beauty of senti- 
ment, accuracy of analysis, or clear statement of profound 
truth. vSeek to find a few choice passages, rather than to 
make many quotations. 
References to any passages which seem to you unnecessary. 

Make reference to any paragraph which, in your opinion, 
could be omitted without loss. It is sometimes said that 
Eliot overloaded her novels with the learning gained in her 
exhaustive study. 



XII. Characteristics of the author. 

Put here notes of any peculiarity which seems to you to 
belong to Eliot's work or habit of mind, with references to 
the illustrations which you have found. Do not look for 
such characteristics on the first page, or in the first chapter. 
They are there, but you should become familiar with an 
author before you venture to pronounce the peculiarity 
you notice a characteristic. If it be such, other illustrations 
of it will appear as you go on. 

XIII. A character for special study. 

As soon as you have made your selection, mark every 
item of the analysis, description, and development of the 
character chosen, in your copy of Romola. 
Note. — Topics vi, vii, and viii, may be omitted by those who 

wish. 

Books which every member of the circle ought 
to own. 

A copy of Romola, not too valuable to mark. 

Life of Eliot, by Oscar Browning, in the Great Winter series, 

published by Walter Scott, London. 
Two note-books. 

Books valuable and useful, but not necessary. 

Life and Letters of George Eliot, edited by J. W. Cross. 
Life and Times of Savonarola, by Villari, published by Scrib- 

ner's Sons. 

There is a two volume edition, and a much cheaper one 

volume edition. 
The makers of Florence, by Mrs. Oliphant. 
Principles of Success in Literature by G. H. Lewes, edited 

by F. N. Scott, published by Allyn and Bacon. 



7 
DIRECTIONS FOR NOTE-BOOK WORK. 

Members of reading circles should have two note-books : one 
for the orderly arrangement of whatever results of study may be 
worth preserving; the other should serve as a kind of tabula 
erasa, for the making of notes while reading or listening to lec- 
tures. 

Note-book work is of three kinds. First, there is the collection 
of data about the author and the particular work studied ; this 
should be done in the beginning. Secondly, there is the collection 
of data upon special topics suitable for investigation; such data 
will serve later as a basis of critical inquiry: for instance, if the 
date of the opening scene of the novel is entered in the note-book 
under the heading, "Chronology of the story," and each succeed- 
ing period of time is noted as the reader finds mention of it, he 
will know, in the end, the length of time covered by the dramatic 
action, how many intervals occur, etc. The collection of such 
data is, of necessity, preliminary to any critical comparison of differ- 
ent novelists in regard to the time covered by their plots. It will 
be seen that the items to be entered under note-book topics iv to 
xiii, inclusive, will be found singl}^ and at intervals throughout 
the novel. It is convenient to write each topic at the top of a 
page, with a ruled column at the left for references to the pages 
of the text where items are found. The reader should keep this 
note-book always at hand and enter, in the fewest possible words, 
any item coming under one of his topics. When a page is filled, 
he should refer at the bottom to the nearest page in the book 
which happens to be blank, and at the top of that repeat the topic- 
title, with a reference to the former page. In this manner, it is 
eas}' to use one note-book for many topics, without confusion. 
Thirdly, there is note-book work upon the topics of study. Many 
readers whose mental discipline is not such that they habitually 
organize the results of study will find the use of the pen a great 



aid to definiteness of thought. After careful study, it is often 
profitable to summarize analytically the conclusions reached. 
Take, for example, topic lo, 

"Chapters i.-vi. introduce the principal characters. Does 
chapter i. open the plot? How? Does chapter ii. contain any 
development of the plot? V/hat? Chapter iii? Chapter iv ? 
Chapter v? Chapter vi" 

The entry in the note-book should be in convenient form for 
use in the discussion at the meeting of the literary circle. The 
following will serve as a suggestive illustration: 

Plot elements : 

In chapter i: 

The ring, the hints of mystery. 

In chapter ii: 

Tito meets Tessa, Nello. 

In chapter iii: 

Further hint of mystery. 

Nello proposes to introduce Tito to Scala, by means 
of Bardo. 
In chapter iv: 

Tito meets Cosimo. 

The introduction of antecedent parts of the narrative. 
In chapter v: 

The introduction of persons and facts of importance 
in the action. 

Romola, Dino, Bardo's blindness. 

In chapter vi : 

Tito meets Romola. 
Tito will aid Bardo. 
Tito meets Bernardo del Nero. 



9 
The note to Scala. 

Nero suggests the marriage to Bardo. 
In note-book work, it is a mistake to write full sentences or 
paragraphs. The note-book should contain, in outline, such 
facts, points, or references as will enable the student to recall in- 
stantly his proof, his argument, or his conclusions and analyses. 
This does not apply to definitions or critical estimates, which can- 
not be worded with too great care. 

THE USE OF THE TEXT. , 

It is desirable to use a copy of the text not too valuable for 
marking. It is often convenient to note a series of facts by margin- 
al references, or words, such as "Theme," "Plot," etc., and it fa- 
cilitates later study of the characters to write the initial letter of the 
name of each leading character in the margin whenever any 
description, analysis, or other indication of personality, occurs. 
It will then be possible to trace a given character through the 
narrative without re-reading. 



BOOK I. 

TOPICS FOR STUDY. 
SECTION I. CHAPTERS I-VI. 

The Proem. 

1. a. What device does Eliot use for transporting the reader 

to the 15th century? 
b. How does she create an impression of the essential 
identity of human life and interest in that century and in 
the present time? 

2. Of what special lines of study, in preparation for writing 
Romola, do you find evidence in the Proem? 

Chapters i-vi. 

3. Characters: How many characters are introduced? Are 
they all distinctly characterized? Which are likely to be 
important characters in the novel? Why do you think so? 

4. A brief analysis of each principal character, as represented 
in these five chapters: 

a. Description of personal appearance. 

b. Impression given of disposition, character, etc. 

c. Indications of important relationships between difi;erent 
characters. 

5. Define in your own mind the necessity for the presence of 
each character in the novel and the reason for the character- 
istics given to the person, and mark with an " ?" each 
character in your list whose introduction does not, so far, 
appear essential to the cast. 

6. From how many points of view, by means of persons, is 
Tito presented to the reader? How do these points of view 
differ? Is any one of them that which the author desired 
the reader to gain? 



If not, what is the view which she wished to present to the 
reader? How does she present this view? 

7. Are there any elements in Tito's character, at the time when 
he is introduced to the reader, which make it probable that 
his life will be treacherous or dishonorable? Are there any 
elements of his character which make a dishonorable or 
wicked life improbable? 

8. What is accomplished by the introduction of Bardo and 
Romola? 

a. Characteristics given Romola. ^ 

b. Characteristics prepared for; i. e. , what development 
of traits may be expected in Romola? 

c. Historical perspective; — how is it secured? Is it 
defective? 

d. What mental characteristics belonged to a scholar of 
the 15th century, as represented by Bardo di Bardi? 

9. What characteristics of the times, as different from our 
own, have been emphasized in chapters i-v? 

10. Chapters, i.-vi. introduce the main characters. Does chap- 
ter i. open the plot? How? Does chapter li. contain any 
development of the plot? What? Chapter iii? Chapter iv? 
Chapter v? Chapter vi? 



12 

SECTION IL CHAPTERS VI-X. 

Chapters vi-x. 

11. Why does Eliot introduce Bernardo del Nero at Tito's first 
visit in the Via de Bardi? 

Why is mention made of the death of Lorenzo? 

12. How had the family history prepared Bardo and Romola to 
welcome Tito? 

13. What were the important characteristics of the man, Bal- 
dasarre Calvo, as reported by Tito? 

Chapter vii. 

14. Why is the "learned squabble" introduced? 

Does it contribute to the plot? To the character building? 
To the background? To which chiefly? 

Chapter viii. 

16. Does Eliot give a clear idea of the feast of San Giovanni? 
Note. — An account of the manner in which Mid-summer Eve 

(The Vigil of St. John the Baptist's Day) was observed in the 
various countries of Europe, especially in England, is found in 
Brand's " Popular Antiquities," pages 165-185. Neogeorgus, in 
"The Popish Kingdom," also gives an account of the rites ob- 
served in this festivity. 

A comparison of the various observances of the feast of San 
Giovanni with the description in chapter viii, shows the extent 
of Eliot's knowledge on this subject. It is noteworthy, however, 
that she makes no mention of the bonfires which Brand says 
were habitually lighted on Midsummer Eve in England and 
France and, probably, in Spain. The running of the Corso at this 
time seems to have been peculiar to Florence. 

17. Why does she choose that Tito shall review the procession 
from Nello's shop? 



13 
iS. Give the special reason for connecting each of the following 
with this review: Savonarolo, Bernardo del Nero, Tessa, 
Piero di Cosimo, the names of Bardo and Romola. 

19. What information about the political situation in Florence 
is given in this chapter? 

20. What points in the development of the plot are made in the 
account of the feast of San Giovanni? 

Chapter ix. 

21. Tito's first struggle: 

a. What were the reasons, on both sides, 'that influenced 
him? 

b. Did his decision give a permanent direction to his char- 
acter, from which he could not escape? 

c. Was Tito mercenary? 
Chapter xi. 

22. If the Friar's message had come to Tito earlier, would his 
decision have been different? 

23. Tito did not love his foster-father; was the reason to be 
found in his own character, or in the character of Baldasarre? 



14 
SECTION III. CHAPTERS XI-XV. 

Chapters xi, xv. 

24. How does chapter xi., "Under the Plane Tree," connect 
with the plot? Does it reveal any new traits in Tito? 

Chapter xii. 

25. What is accomplished in the novel by Brigida's visit? 
Note. — Suggested in answer to 25, 

a. Reveals to Tito the relationship of Dino; (by what 
steps?) 

b. Hastens Tito's proposal. 

c. Gives another view of Savonarola. 

26. What was Tito's great regret when he won the promise of 
Romola's hand from Bardo? Is it consistent with your idea 
of his character? 

27. How do you explain Romola's inclination toward Tito? By 
similar traits of character? Would it have proved perma- 
nent had not outside events influenced the result? 

Note. — Suggested in answer to the first question of 27, 

a. By her love for the beautiful. 

b. By the absence of all that could repel her. 

c. By her possession of an imaginative mind. 

d. By physical attraction, similarity in tastes, etc 

e. By her love for her father. 

f. By her longing for companionship. 
Note. — No such point should be accepted in the discussion 
unless supported by reference to proof found in the text. The 
reader's effort should be directed solely to tracing the author's 
analysis, not to devising reasonable or possible explanations. 

Chapter xiii. 

28. What do you understand by the "Shadow of Nemesis? 



15 
What was Eliot's reason for bringing Nemesis near Tito's life 
and then removing all apparent danger of it? 

29. Would the events of chapter xiv. have happened had it not 
been for the " Shadow of Nemesis?" 

30. Can you explain the inclination Tito felt toward both Tessa 
and Romola? Were both feelings genuine? Could both 
really exist at the same time? 

Chapters xv., xvii. 

31. What appear to have been Dino's reasons for becoming 
a monk? 

32. In the 15th century, how did men attempt to escape from 
sin -and rise to a nobler plane of living than that of their 
fellows? 

33. What were the reasons for Romola's dislike of monks and 
of the church? 

34. What new influence was planted in Romola's mind by her 
visit to her dying brother? How would this new consciousness 
influence such a nature as Romola's? What connection wath 
the development of the plot has this event? 

35. What is the author's most important purpose in describing 
this interview, next to the one suggested above? 



i6 

SECTION IV. CHAPTERS XVI-XX. 
Chapter xvi. 

36. What purposes are served by the chapter called "A Flor- 
entine Joke?" 

a. The conversation, 

b. The joke. 
Chapters xix., xx. 

37. The betrothal : 

a. What were Bardo's reasons for wishing Romola to 
marry Tito? (Compare Bardo with Casaubon, in Middle- 
march. ) 

b. Eliot speaks of Romola's idea of Tito as a "vision 
woven from within." What was this idea? In what 
respects did it differ from the real Tito? 

c. Was Tito's idea of Romola more correct than her idea 
of him? How did it differ from her true character? 

d. Explain the motives which influenced Tito in present- 
ing Romola with the Ariadne. Has the painting of the 
Ariadne any other connection with the plot than its part 
in the betrothal? (Why did Cosimo object to Tito's 
money?) 

e. Why is this betrothal placed at the carnival time by the 
author? 

Note. — The placing of this betrothal at the carnival 
time is an illustration of the care with which the plot of 
Romola is constructed. There seem to have been seven 
or eight considerations in the author's mind. 

f. How many important elements in the complex lives of 
Tito and Romola does the author associate with their 
betrothal? 

g. Can you explain why Eliot introduces the mummery 
at the close of chapter xx? 



17 
SECTION V. GENERAL TOPICS. 

38. How many phases of Florentine life and thought have been 
presented in book I? 

These points are suggested in answer to 38: 

a. The religious life of Florence. 

b. The culture of Florence. 

c. Political parties in Florence. 

d. The relation of Florence to other independent states. 

e. The relation of Florence to Rome. 

39. What characteristics of the 15th century are presented in 
book I? 

Note. — Select especially such characteristics as would 
place the events definitely were no historical names or 
dates given. 

Note. — Villari mentions certain characteristics which 
seem to him important in "Life and Tim.es of Savona- 
rola." book I., p. 45. Eliot seems to have had other 
characteristics also in mind. Consult Symond's "Age of 
the Despots," chapter iii. 

40. What was the mental attitude of the different classes of 
society towards Christianity at this date? 

State clearly, in each case, what the mental attitude was. 

41. By what means has Eliot created an impression of Savona- 
rola's personality and influence, and carefully prepared for 
his entrance on the scene? 

Is this method more or less effective than it would have 
been to introduce him at once as a leading character? 
Note. — In book i, Savonarola is consistently kept in the back- 
ground, although everything points toward the entrance of some 
great figure. At first, we hear current gossip about the Prate's 
visions through the medium of the common people, and witness 
the profound impression created by the reports of his interview 



with the dying Lorenzo and the fulfiUment of certain of his pro- 
phecies. Then, in the person of the pleasure-loving Brigida, the 
author illustrates his influence upon general society in Florence 
and, at the same time, gives a popular version of the three great 
doctrines which he preached. In Dino's chamber, Savanarola, the 
devotee, enters, and we have a brief but powerful impression of 
his personality ; we feel his great power of drawing men to him 
and of influencing them through the implanting of noble ideals of 
spiritual life. Again, in Nello's shop, we listen to the opinion of 
shrewd politicians and we hear the astute Machiavelli explain 
the sources of the Prate's influence. At each step, we see more 
clearly the real character of the man and come closer to the secrets 
of his power. 

Eliot's purpose in the presentation of Savonarola was double. 
She wished to reveal to the reader the man's rare and complex 
individuality and also to present the extent and character of his 
influence as a leader of the people, and his relation to the difhcult 
politics of the times. Only by tracing every step of the process, 
is the critic able to detect the fine skill with which the author has 
placed this man in the reader's mind as the dominant figure in 
the background of Florentine life. 
42. The following topics in book I, illustrate Eliot's habit of 

building up an effect by slow degrees. Trace each one in 

outline. 

a. Romola's imaginary Tito. 

b. The introduction of antecedent material and the use of 
the ring. 

c. The growth oi fear as an influence in Tito's life. 

d. The web of deceit, — when did it begin? B}^ what steps 
did it grow? 

e. The creation of an impression of Savonarola's person- 
ality and influence. 



19 
Note. — These topics illustrate the usefulness of marking the 
text, and of keeping notes. 

43. What is the author's key to Tito's character? 

How does this account for his decision about the jewels? 

Can you explain the necessity that Tito felt for Romola at 
the time when he supposed that Dino had revealed his secret 
to her? 

44. Do you consider Tito's course irrevocably taken at the close 
of book I? 

If you answer no, point out any possibility or probability 
of change that you see, either in the man's nature, or in the 
circumstances that surrounded him. 

If you answer yes, point out the time at which you think 
the course of his life took so definite a direction that change 
of tendency was no longer probable? 

What would have been the course of Tito's life had Balda- 
sarre really died before Tito came to Florence? 

45. Does the main plot of the novel seem to center in Tito's life, 
or in Romola's? 

46. What is the theme of the novel, Romola, so far as it is 
apparent in book I? 

47. Make a suitable title for book I. 

4S. Report on quotations and other note-book topics. 



20 

BOOK I I. 

ADDITIONAL REFERENCES FOR BOOKS II. AND III. 

Villari's Life of Savonarola, book II., chapters i., ii., iii. 

Trollope's History of Florence, vol. IV, 

Symond's Age of the Despots, chapters vii., ix., x. 

The Venetian Republic, by Horatio F. Brown, pp. 326-332. 

POINTS OF IMPORTANCE IN THE STUDY OF BOOK IL 
In the historical and political setting of the novel : 

a. The political situation of Florence and the cause of the 
coming of Charles VIII. 

b. The reasons for the Pope's hostility to the city of Flor- 
ence. 

c. The political parties in Florence. 

d. The relation of Savonarola to these parties. 

e. The secret of Savonarola's power. 

In the plot: 

a. The selection of historical incidents in such a manner 
that they fairly represent important historical events and 
reveal in true proportion the influences that brought them 
about and also are essential steps in the development of 
the plot. 

d. The crisis in Tito's life. 

c. The crisis in Romola's life. 

d. The connection between Tito's life and the political 
plot. 

<?. In the life of Savonarola, the effect of an intimate con- 
nection with Florentine politics and of the struggle between 
his desire to reform the Church and his love of power. 



In the artistic construction of the novel : 

a. The bringing forward of the main plot so that gradually 
the underplot of which Tito's life is the center is subordi- 
nated to the real artistic purpose of the novel. The ap- 
parent relation of the two plots in book I. is reversed in 
book 11. 

b. The skill with which Savonarola's life is shown to be the 
dominant influence in the development of the plot, al- 
though he is consistently kept in the back-ground and is 
presented to the reader in the manner ill which his life 
was related to his own times and to those that have fol- 

• lowed. 

c. The skill with which complexity of character is repre- 
sented in the case of many different persons, so that the 
reader appreciates the presence, in each, of conflicting 
motives and is often unable to pass an absolute judgment. 

d. The parallel between the spiritual experiences of Rom- 
ola and of Savonarola. 

e. The fine self-restraint shown by the author in her use 
of rich historical materials so that the plot nowhere 
weakens in its hold upon the reader's mind through his 
interest in the history. 

f. The care with which the true historical perspective 
and connection of events is preserved; nothing is col- 
ored or wrested from its true meaning for the sake of 
effectiveness in the novel. 



22 

TOPICS FOR STUDY. 

SECTION VI. CHAPTERS XXI-XXIII. 

Chapter xxi. 

49. What reasons had Charles viii. for coming into Italy? 

50. What was his claim to the throne of Naples? 

51. Why did the Dnke of Milan invite him? 

52. What relation did Florence hold to Milan in this matter? 
To Naples? 

53. Was there any great danger to Florence in welcoming 
Charles? 

54. How did Savonarola regard the coming of Charles? 

55. What was Savonarola's conception of his own mission in 
the church? In the world? 

56. How does the author account for his hold upon the popular 
mind? 

57. What prophecies had Savonarola made before the death of 
Lorenzo? 

58. Did the author consider Savonarola's utterances truly 
prophetic, or how did she account for them? 

59. Would Savonarola have welcomed the coming of Charles 
had he been only a politician? That is, was his attitude 
determined by his religious zeal, or did he believe that there 
were sound political reasons for promoting an alliance 
between Florence and Charles? 

60. What were the first results to Florence of Charles' presence 
in Italy? 

61. How did Charles regard Florence? 

62. What was his attitude toward the Medici? 

63. What great change in Florentine politics had taken place 
since the Quaresima of 1492? 



64. What government was substituted for the rule of the 
Medici? 

65. What was the relation of Florence to Rome at this time? 

Chapters xxii. xxiii. 

66. How had Tito's position in the city changed in two years? 
a. What steps in the plot are gained by the incident of 

the prisoners? 
d. If you suppose that Tito acted by sudden impulse, or 

instinct, in saying "some madman, surely," is the act 

to be explained by innate characteristics, or by previous 

trains of thought and conduct? 
f. If Baldasarre had not come upon Tito suddenly, if he 

had had time to act deliberately, what would he have 

done? 

67. Chapter xxiii dwells upon a critical moment in Tito's life ; 
a. In what does its importance lie? 

d. Has this crisis in Tito's life any significance in the 
course of Romola's life, that is, in the main plot, or is it of 
importance chiefly in relation to her happiness? 



24 

SECTION VII. CHAPTERS XXIV-XXVIII. 

Chapters xxiv, xxv. 

68. What were the author's reasons for carrying Baldasarre 

into the Duomo? How did the sermon affect his mind? 
6g. Is this sermon essential to the plot? 

70. Does it give any new conception of Savonarola? 

71. Was the Prate's audience fairly representative of the city, 
or only of certain classes and parties? 

72. How did this audience compare with his following, two 
years before? 

73. What effect did Savonarola desire to produce by his 
preaching? 

74. What elements of plot development are found in chapter 
xxv? 

Chapters xxvi, xxvii, xxviii, 

75. How had Tito changed in character in two years? 

76. Do you find any new influences at work in his mind? 

77. What was the attitude of the Florentines toward Charles 
on the day of his entrance? 

78. In what respects does Eliot contrast the French and the 
Florentines? 

7g. What part of the incident of Tito's speech is historical? 

80. Was there anything in Tito's character as presented in 
book I, which prepared you for the incident of the armor? 

81. What changes in Romola's life had taken place in eighteen 
months? 

82. What changes had taken place in her thought and char- 
acter? 

83. Had Romola's idea of Tito changed? How did she explain 
the change? 



84- How did she explain the change in the relation between 
herself and Tito? 

85. Why had Romola formed the habit of going to the Duomo? 

86. How did Savonarola's preaching influence her? 

87. What impression was made on Romola's mind by the inci- 
dent of the armor? 

88. Does her feeling form an element in the plot? 

89. What purposes in the development of the plot does Romola's 
visit to Piero serve? 

90. Had Romola lost faith in her father's purposes in life? 

91. There are two or three fine bits of character analysis in 
chapter xxviii ; what are they? 

92. There is also in chapter xxviii an incident of importance in 
the development of the plot; what is it? In what does its 
importance consist? 



26 

SECTION VIII. CHAPTERS XXIX-XXXIV. 

Chapter xxix. 

93. What did "the most Christian king" demand? 

94. What was the historical treaty between Charles and Flor- 
ence? 

95. What is the historical basis of the incident of Tito's speech, 
and of Capponi's part in making the treaty? 

96. Has Eliot added or changed anything? 

97. What is the importance of this incident in the dramatic plot 
of the novel? 

98. Does it count as a step in the political plot which forms a 
back-ground for the dramatic plot? 

Chapters xxxi, xxxii. 

99. In these chapters, two plots are brought into connection; 
which is the main plot? How do you support your opinion? 
Note. — The answer to this question is of importance, as it 

should furnish an indication of the real theme, or artistic purpose, 
of the novel. Point out each plot element in this chapter and 
show the relation of each plot to the other. 

100. Was it essential to Tito's plans that he should sell the 
library? 

loi. Was there any real reason for not doing so except Romola's 
filial piety? 

102. Was a promise made to a dead father binding upon Tito 
and Romola under changed conditions? 

103. Why has the author chosen this time for the arrival of the 
painting of Bardo di Bardi? 

104. Why does she introduce Bernardo del Nero in Romola's home 
just at this time? 

105. How did Tito attempt to explain his sale of the librar}-? 



27 

io6. What means of insuring Romola's compliance did Tito take? 

107. Did he wish to retain Romola's confidence and affection at 
this time? 

108. Was there any course possible, in regard to the sale of the 
library, by which Romola could have maintained the old 
relation between herself and Tito? 

109. What change in Romola dates from this time? In Tito? 

Chapters xxx, xxxiii, xxxiv. 

no. Sketch, in outline, Baldasarre's life. Do you consider his 
mental and moral condition the result of defects in his char- 
acter, or of misfortune? 

111. Why were all his relationships with fellow men a failure? 

112. What thwarting influences were at work in Baldasarre's life? 

113. What was the author's purpose in introducing the character 
of Baldasarre? 

114. Why does she make him incapable of accomplishing his 
revenge? 

Chapter xxxiv. 

115. Why did the confidence of Romola affect Tito so differently 
from the trust of Tessa? 

116. Why does the author introduce the picture of Tessa saying 
her prayers beside her bab}^ at this point in the narrative? 

117. What is the reason in the plot for connecting Baldasarre 
with Tessa's life? 

iiS. What motives impelled Tito to seek a reconciliation with 

Baldasarre? 
119. What would have been the result in Tito's life, had he 

effected the reconciliation with Baldasarre? How would it 

have affected his relations with Romola? 



28 

SECTION IX. CHAPTERS XXXV-XLI. 

120. a. What position m Florentine politics did Tito try to hold? 
b. What were his plans? What was his real ambition? 

121. What were the real tasks before the city of Florence at the 
time of Charles' departure? 

122. What was the first step taken? 

123. What two forms of government were proposed? 

124. On the side of which was the influence of Savonarola? 

125. What was his ultimate object in this course? 

126. Could he have kept himself free from politics at this time? 

Chapters xxxviii, xxxix. 

127. Why was Tito going to Rome? 

12S. What was the position of Bernardo Rucellai? 

a. To what party did he belong? 

b. Is he a historical personage? 

129. Why did the Mediceans affiliate with the Frate's party? 

130. Why were they anxious to retain Tito? 

131. What inducements did they hold out to him? 

132. What was it expected that Tito w^ould do? 

133. What were the most important things that Baldasarre 
gained in exchange for his broken dagger? 

134. What various purposes in the development of the plot are 
served by Baldasarre' s appearance in the Rucellai gardens? 

135. Did the evening in the Rucellai gardens cause any changes 
in Tito's character or plans? 

136. Did the attempt of Baldasarre injure Tito in any way? 

137. One key to the author's conception of Tito's character is 
found in chapter xxxix; what is it? 



29 

Chapters xxxvi, xxxvii, xl. xli. 

13S. Why did Romola go away? 

a. Was her act justifiable from the modern point of view? 

b. How did she justify herself? 

139. What was the usual refuge of unhappy wives in Florence? 

140. Did Romola regret that she had married Tito? 

141. What plan had she made for her future life? 

142. Why did she carry Dino's cross with her? 

143. Why did not her trouble influence her to accept Dino's faith? 

144. Does Eliot indicate here the manner in which spiritual help 
would finally come to Romola? , 

145. What was the secret of Savonarola's influence over Romola's 
mind? 

146. What reason did Savonarola urge when commanding her 
to return? 

147. What motive finally influenced Romola in yielding? 

148. Did this yielding mark the change of any ruling principle 
in her life for a new one? Explain. 

149. What was Romola's mental attitude toward Christianity 
when she returned to Florence? 

150. What new impression of Savonarola do you get from this 
interview? 



30 
SECTION X. GENERAL TOPICS ON BOOK II. 

151. Romola and Tito : 

Trace the influence of Romola upon Tito's character; was 
it for good? 

152. The Political Plot at the close of book II : 
a. The Parties. ' 

d. The Plots for the restoration of the Medici. 
c. Tito's connection with these plots. 

153. Savonarola's relation to the political situation: 

a. What different classes of Florentines belonged to 
the Prate's party? 

b. What elements of society were opposed to him? 

c. Wherein lay the real strength of his position? 

d. Wherein lay its weakness? 

e. For what ends was the Frate working? 

f. Do you perceive any sources from which reaction may 
arise? 

154. The Plot: 

At the close of the second book, what seems to you to be 

the theme of the novel? 

Trace the main plot in outline through the second book, 
showing how it has advanced, and every point at which 
subordinate plots have contributed to its development. 



31 
BOOK ill. 

TOPICS FOR STUDY. 
SECTION XL CHAPTERS XLII-L. 

155. How long a time passed between the events narrated in 
book II, and those of book III? 

156. For what purpose was the " League" organized? 

157. What States belonged to it? 

158. What special reasons for enmity to Florence had each of the 
following: the Pope? the Emperor? the small states? Venice? 
Genoa? 

159. What were domestic difficulties of Florence at this time? 

160. What relief from these difficulties did the Prate's party 
hope for? 

161. What course did the disaffected advocate? 

162. What is the thread which connects the incident of the starv- 
ing prisoner in the street with the plot in the previous books? 

163. What do we learn of Romola in this scene? 

Chapters xliii, xliv. 

164. How had Romola passed the two years previous to the inci- 
dent of the prisoner? 

165. What changes in her character and habits of thought had 
taken place since her return? 

166. Did she hold the common beliefs of the Church? 

167. What was the real explanation of Savonarola's influence 
over her mind? 

1 68. What were the relations between Romola and Tito at this 
time? 

169. What were the author's reasons for making Romola view 
the procession? 



32 

Note. — Not less than six reasons, each of distinct importance 
in relation to the plot, may be noted here. 

170. Is this incident historical? Did Eliot add anything or make 
any change for the purpose oi adapting it to her narrative? Is 
the impression given historically accurate? 

171. What changes had two years in prison made in Baldasarre? 

172. Is there any essential element of the main plot in chapter 
xliv? 

Chapter xlv. 

173. Why did Machiavelli believe that Savonarola would fail? 

174. Do you think his interpretation of Savonarola's character 
correct? 

175. Had Eliot any special reason for attributing these opinions 
to Machiavelli? 

176. What was Tito's mission to Pisa? 

177. What was his secret mission? 

178. To what party did Tito give the impression of belonging, 
when in the barber shop? 

Chapters xlvi, xlvii. 

179. W^as the difficulty which kept Romola and Tito apart on his 
side, or on hers? 

180. What was the plot for capturing Savonarola? 

181. Why did the plotters wish to carry him into Roman te^-ri- 
tory? 

1 82. W^as Tito a well chosen agent for the conspirators? 

I S3. Did Tito lie to Romola w^hen he declared that the Frate 
should not go out of the city, or had he formed a resolution 
to that effect before she asked her question? 

184. Did Romola do a wise thing in compelling Tito to speak 
in Nello's shop? 

185. What were the indirect results of the frustration of this plot 
against Savonarola? 

Note here three points important in the further development of the plot. 



33 

Chapter xlviii. 

i86. Did Tito believe his own statement of the difficulty between 
himself and Romola? 

1 87. Was it necessary for the success of Tito's plans that he 
should take means of controlling Romola? 

188. What change in the relationship of Tito and Romola 
resulted from this incident? 

1 89. Was Romola responsible for the prevention of evil that Tito 
might do? 

Note. — In the first crisis of Romola's life, the question had 
been whether she could live with a man whose character and 
principles were wholly at variance with her own. She submitted, 
since it was herself only who suffered, and sought her real life 
outside flie home relation. In the second crisis of her life, she 
saw the evil that Tito did, threatening the public welfare and the 
lives of those dear to her. Had she any responsibility as a citizen 
and a loyal friend? Was her duty as a wife paramount when 
there were conflicting claims? 
Chapters Ixix, 1. 

190. What was the old custom for which the Pyramid of Vanities 
was substituted? Villari, 44, 45, 132-139, vol. II, book III. 

191. What was Savonarola's purpose in making this change? 

192. Was the sentiment of Florentines, generally, in support of 
the new plan? 

193. How many different attitudes of mind toward the Pyramid 
of Vanities does the author represent? 

194 What purposes in the plot are served by the Pyramid of 
Vanities? 

195. Why does the author make Baldasarre a witness of Tessa's 
holiday? 

196. In which plot is the meeting of Romola and Tessa impor- 
tant? Why? 



34 

SECTION XII. CHAPTERS L-LXII. 

Chapters li, Hi. 

197. AVhat is the importance of the incident about Brigida? 
ig8. How had the preaching of Savonarola changed, according 
to Eliot, since 1492? 

a. How is thischange to be explained? 

199. What was the effect of her visit to Camilla upon Romola's 
inner life? 

200. What is the importance of this visit in the plot? 

201. What was Romola's great difficulty at this time? 
Chapters liii, liv. 

202. What was the purpose of the author in bringing Romola and 
Baldasarre together? 

203. What were the deepest feelings stirred in Romola by Bal- 
dasarre's revelations? 

204. Was the evidence sufficient to warrant Romola in believing 
Baldasarre rather than Tito? What evide7ice on either side 
had she? 

205. Why did Romola visit her god-father immediately after 
her interview with Baldasarre? 

206. What was the historical reason for the retreat of Piero de 
Medici? 

207. Has his approach to the city gates any connection with the 
plot of the novel? 

Chapters Iv, Ivi. 

208. How did the excommunication of Savonarola affect Romola? 

209. What was the problem of Romola's inner life at this time? 

210. Did the finding of Tessa change Romola's feeling toward 
Tito? 

211. Why did she think, at this time, that it would be right for 
her to leave him? 



35 
Chapters Ivii, Iviii. 

212. What was the bargain which secured Tito's safety when 
the Medician conspirators were discovered? 

213. Why did he dislike this bargain? Had it any important 
bearing upon his after Ufe? 

214. Why did Tito wish Romola to visit the Frate in the interest 
of Bernardo del Nero? 

215. What motives restrained Savonarola from using his influ- 
ence in favor of the appeal? 

216. Do you think that he made a mistake? 

217. Did Romola present any valid reasons? 

218. What was the relation of this interview to Romola's inner 
Hfe? 

2ig. What was the purpose of the author in bringing these two 

leading characters face to face at this time? 
Chapter Ix. 

220. Why was it impossible to save Bernardo del Nero? 

221. Why is Machiavelli's conversation at the time of the 
execution introduced? 

222. Which is more faithful to ordmary human experience, the 
emotions experienced by Tito at the time of the execution, or 
those that moved Romola? 

Chapters Ixi, Ixii. 

223. Where do you place the beginning of Romola's alienation 
from Savonarola? Trace the process. 

224. Of what did Romola accuse Savonarola in the reaction that 
followed the execution? 

225. What was the effect upon Romola of her loss of faith in 
Savonarola? 

226. W^hy did Romola leave Florence the second time? 
What did she seek? 

227. Had Eliot any purpose, except the faithful delineation of 
Romola's inner life, in describing her alienation from 
Savonarola? 



36 
SECTION XIII. CHAPTERS LXII-LXXII. 

Chapter Ixii, Ixiv. (See also previous chapters.) 
22S. Review in outline Savonarola's contest with the Pope. What 
was the real issue between the Pope and Savonarola? 

229. By what means had the Pope sought to get Savonarola into 
his power? 

230. What means had Savonarola employed to frustrate the 
Pope? 

231. With which party was the sympathy of the Christian world? 

232. Why was Savonarola excommunicated? 

233. What was the effect of this excommunication upon the city 
of Florence? 

234. What was the attitude of the different parties toward it? 

235. What moral question did the excummunication present to 
Savonarola? 

How did he decide it? 

236. Were his motives in this decision personal, or did he 
believe that he sought the highest good of the church? 

237. Why was the threat of an interdict more alarming to Flor- 
ence than the excommunication? 

238. What are the practical results of an interdict? Illustrate by 
the history of one or more famous interdicts. 

239. W^hy did Savonarola make the appeal to heaven? 
What was the real result of that appeal? 

240. How does the historical incident compare with the narrative 
in Romola? Villari, vol. ii, 255. 

Has the appeal to heaven any importance in the plot? 

Chapters Ixiii, Ixiv, Ixv. 

241. What was the political scheme concealed in the "Trial by 
Fire"? 



37 

242. How did Dolfo Spini's understanding of this scheme differ 
from Tito's idea of it ? 

243. What was Savonarola's inward conflict in regard to the 
" Trial by Fire"? 

244. What was the effect of "The Trial by Fire" in Florence? 

245. What motives induced Savonarola to intrust his letters to 
Tito? 

246. What was his great plan? 

247. What motives influenced Savonarola in his decision to call a 
council? 

24S. Were there reasons for expecting a favorable result from 
this step? 

Note. — The calling of a council was not an act of insubordi- 
nation at this time. Charles VIII had long considered summon- 
ing such a body. When in Rome, he had been urged to do so by 
no fewer than eighteen cardinals, especially by Giuliano della 
Rovere. who had been defeated by the gold of Alexander VI. in 
the last election. :\ioreover, the Doctors of the Sorbonne had 
voted in January, 1497, that the king had the right to take the 
step. The summoning of a council to consider the fitness of the 
Pope for his office was not without precedent. The council of 
Pisa, summoned by the Cardinals, in 1409, had deposed both the 
rival Popes, and the general Council of Constance, in 1414, had 
proclaimed its superiority over the Popes and deposed John 
xxiii. 

On this subject, see Villari's Life of Savonarola, vol. ii, p. 291 ; 
Hallam's Middle Ages, part li, chap, viii; Symond's Age of The 
Despots, chap, ix, p, 532; Burckhardt's Civilization of the 
Renaissance in Italy, pp. 106 and no. 

249. Would Savonarola's plan of summoning a council have suc- 
ceeded if the letters had not been betrayed? 



3S 
Chapters Ixvi-lxxii. 

250. What was Tito's private scheme in the betrayal of Savona- 
rola? 

251. Why did Ser Ceccone hate Tito? 

252. What was the occasion of the mob that attacked San Marco? 

253. Was the pursuit of Tito by the mob an accidental incident? 

254. Trace Tito's political career in Florence with a view to 
showing whether it alone would have brought him to ruin ; 
can you explain his course apart from the secret fears that 
influenced him? 

255. At what point do 3^ou place the climax of Tito's career? 

256. ^ At what point do you place the close of Tito's career? 

257. Where do you place the last important connection between 
the underplot and the main plot; that is, the last determining 
influence of events connected with Tito's life upon the course 
of the main plot? 

258. Do you think it true art to make Baldasarre the one to de- 
prive Tito of his last chance of life? 

259. What were the causes of Savonarola's downfall? 

260. How do you explain the decay of his influence in Florence? 

261. Do you consider his failure in any degree due to his own 
mistakes? 

262. How do you explain Savonarola's course under torture, and 
his silence at the end? 

For Savonarola's trial, see Villari's Life, vol. H., book IV., 
chapters ix, x, xi. 

263. On what charge was Savonarola condemned? What are 
the reasons for doubting the genuineness of the confession 
published as Savonarola's? 

265. According to his own statement, do you consider Savonarola 
unrighteously ambitious? 

266. Did Savonarola believe in his owni visions? 



139 
267. Did Savonarola consider his own life a failure? 

268. What is the final judgment of the author concerning Savon- 
arola? 

269. What were the great conflcts of Savonarola's inner life, ac- 
cording to Eliot? 

270. For what purposes and ideals has the life of Savonarola 
stood in history? 

271. What was Romola's mental condition at the time when she 
drifted away? 

272. How did help first come to her? 

273. What is the relation of her stay in the plague stricken 
village to the plot? ' 

274. What motives impelled Romola to search for Tessa? 

275. How did Romola judge Savonarola at the time of his trial? 

276. Why was she so anxious for a last word from him? Why 
did he not speak it? 

577. Why has the author presented Savonarola at the time of 
his trial through the medium of Romola's mind? 

27S. What was Romola's final judgment of Savonarola's life? 

279. What was Romola's solution of her mental difficulties and 
her final theory of life? 



40 
SECTION XIV. GENERAL TOPICS. 

I. Tito's character : 

a. Was Tito's character determined by innate characteristics 
or by the force of circumstances? 

b. Would Tito have been a better man if he had had a dif- 
ferent wife? 

c. Discuss and criticize the author's analysis of Tito's char- 
acter with reference to his h story. What does she make 
the key to his character? Does this sufficiently account 
for his course? 

d. Is the character of Tito essential to the main plot? How? 

II. Romola's Inner Life: 

a. What were its conflicts? 

b. How was it influenced by Savonarola? 

c. To what extent was it determined by her connection with 
Tito? 

d. What were the crises of Romola's life? 

e. What was Romola's final theory of life? 

III. Eliot's conception of Savonarola's character: 

a. His religious fervor. 

b. His zeal as a reformer. 

c. His political ambition. 

d. His ecclesiastical schemes. 

e. The author's explanation of Savonarola's character. 

f. Was his character consistent? If not, in what respects 
was it inconsistent? 

g. Do you consider it due to himself or to circumstances 
that he failed of being a great reformer? 

h. What do you consider the most important differences 
between the purposes and plans of Savonarola and those of 
Luther? 



41 
i. Which man do you consider the more able? Why? 
/. Which man do you consider the stronger? Why? 

IV. Plot : 

a. What is the theme of the main plot? 

b. What is the theme of the underplot? 

c. What is the supreme moment of the main plot? 

d. What is the climax of the under plot? 

<?. At what points is the under plot essential to the main 

plot? 
/, Is the life of Savonarola essential to the novel as a work 

of fiction? 
g. In what respects is the inner life of Romola similar to 

that of Savonarola? 

V. The historical character of the novel: 

a. Has the novel left in your mind any distinct impression 
of Florence as a mediaeval city? 
What characteristics had it? 

h. Has the author given you any distinct impression of Flor- 
entines as a race of men differing from the English speak- 
ing races? 
What important differences come easily to mind? 

c. Has the author conveyed an impression of the character- 
istics of the 15th century, as differing from other centuries? 
What were its characteristics? 

d. Has the author loaded the narrative with unnecessary 
historical material? 

Note. — If the answer is yes, definite passages must be 
pointed out in proof. Any historical material not essential 
to the development of the plot or to an understanding of 
the narrative may be regarded as unnecessary. 



42 

e. Is the historical material essential to the novel or could 
its main purpose have been accomplished by scenes laid in 
the 19th century? 
VI. Criticism : 

References for the comparison and study of criticisms upon 
Romola will be furnished upon a separate sheet. 

The End. 



*) 



\ 



\ 



■ - -^ '^ <^^ - 1. 



.A^^' '^y> 









.A^-^^^ 






=^^. 





' 


^^ 0° 






-oo^ . 








:-/.'*« 


1 \ " 


/\..,*e 


r.. 








A'' 




.^^ 


%■ 


'^yiv^J 










^ "5^-, - "* 






' f^ V 






= ).0°.. 






,0^ 


-^ 




,0^ ^1 •», i-. 


: % 


/" .-.}f%^"-- ^' 


■ .^' 







> .^^ V- Deacidified using the Bookkeeper process. 

;^ -^^ '^ , .- V ■. Neutralizing agent: Magnesium Oxide 

V* s^A ' '^^ "^ .0 N ^ ^Vl , Treatment Date: April 2009 

'^ "^'^^ ' " PreservationTechnologies 

" A WORLD LEADER IN COLLECTIONS PRESERVATION 

. _s. ,f, .^ i,,,ii 111 Thomson Park Drive 

AV" A/' "^ ^?i| Cranberry Township, PA 16066 

'■^ >^^»^ (724)779-2111 

u y '\ O ^/ 




>0 c. 

* O M •• .W 



^^" ^^^ 






>.0 0^. 



^- * H ^ _^^' 



^^'^81^* 




